By Katie Gibson “A romantic fervor drives…children to crime; they project themselves into the most magnificent, daring, and ultimately dangerous… Read more Bringing Abolition Home: Why Family Abolition Needs to be at the Heart of the Movement to Abolish Family Policing
By Eli Nova Rose As I write, it’s dark before dawn very early on a Saturday morning, and one kid… Read more Between ‘Mothers’ and ‘Females’
By Johanna Isaacson As we enter the age of the “social thriller,” horror is in a transformative moment. Films like… Read more Chopping it Up and Burning it Down: Queer Camp in “Night Warning”
By Michael Truscello Like many Albertans, I was thrilled when HBO announced it would be filming The Last of Us TV adaptation in Alberta… Read more HBO’s The Last of Us: Filming (in) Alberta
By Payton McCarty-Simas While Oedipus Rex is the most obvious reference point for Toshio Matsumoto’s 1969 film Funeral Parade of Roses,… Read more “The Blade and the Executioner”: Funeral Parade of Roses, Psycho, and Queering the Monstrous Other
By Johanna Isaacson The following is excerpted from Stepford Daughters: Weapons for Feminists in Contemporary Horror (Common Notions Press). You can purchase… Read more Precarious Performances: Unplannable Lives of Emotional Laborers in Parasite
By Trey Taylor In a 1985 essay entitled ‘Photography and Fetish’, the visual theorist Christian Metz ventured a number of… Read more Photography, Politics, and Death in All The Beauty and the Bloodshed
By Madeline Lane-McKinley “Don’t misunderstand me, I have no hope,” Marc Maron tells his audience at the outset of his… Read more Maron’s Third Act
By Hunter Bivens (after Heiner Müller’s “The Father”) On a Tuesday morning in October of my tenth year in California,… Read more NOTES ON A DEAD FATHER
By Madeline Lane-McKinley The following is an excerpted chapter from Comedy Against Work: Utopian Longing in Dystopian Times (Common Notions… Read more The Stand-Up Artist in the Age of Gigification
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